"jazz with hip-hop, although his 1972 album ""On the Corner"" contained beats that would later be sampled for hip-hop. Miles Davis discography Miles Davis was an American trumpeter, bandleader and musical composer. His major (without bootlegs, etc.) discography consists of at least 51 studio albums, 36 live albums, 35 compilation albums, 17 box sets, 4 soundtrack albums, 57 singles and 3 remix albums. Davis' initial appearances on record were mainly as a member of bebop saxophonist Charlie Parker's quintet from 1944 through 1947 and released on the Savoy label. Davis made his debut as a leader in the 1947 sessions"
"given to only one other jazz musician – Miles Davis. Jarrett has also played harpsichord, clavichord, organ, soprano saxophone, and drums. He often played saxophone and various forms of percussion in the American quartet, though his recordings since the breakup of that group have rarely featured these instruments. On the majority of his recordings in the last 20 years, he has played acoustic piano only. He has spoken with some regret of his decision to give up playing the saxophone, in particular. On April 15, 1978, Jarrett was the musical guest on ""Saturday Night Live"". His music has also been"
"James Buffington James Lawrence Buffington (born May 15, 1922, Jersey Shore, Pennsylvania; died July 20, 1981, Englewood, New Jersey) was an American jazz, studio, and classical hornist. Buffington was a busy studio and jazz player on the French horn. He was an autodidact as a child, though his father played piano and trumpet. He graduated from the Eastman School of Music and began playing in New York City in the 1950s, with Oscar Pettiford among others. He played with Mel Powell in 1954 and Teddy Charles in 1956. He is perhaps best known for his work with Miles Davis on"
"actually Keith Jarrett when he played in Miles Davis group. *Keith Jarrett w. Miles Davis The organ can be heard played together with Rhodes piano on the Miles Davis record Live-Evil and by itself on some live recordings with the Miles Davis group, when Chick Corea took over the Rhodes and Jarrett only played the Contempo. Another recording is ""Ruta and Daitya"" with Jarrett and Jack DeJohnette. In rock music, Toronto indie pop bands Beth in Battle Mode and The Gardens Faithful made extensive use of the Contempo. Fender Contempo Organ The Fender Contempo Organ is a type of combo"
"Miles Davis discography Miles Davis was an American trumpeter, bandleader and musical composer. His major (without bootlegs, etc.) discography consists of at least 51 studio albums, 36 live albums, 35 compilation albums, 17 box sets, 4 soundtrack albums, 57 singles and 3 remix albums. Davis' initial appearances on record were mainly as a member of bebop saxophonist Charlie Parker's quintet from 1944 through 1947 and released on the Savoy label. Davis made his debut as a leader in the 1947 sessions featuring Parker, pianist John Lewis, bassist Nelson Boyd and drummer Max Roach. Prestige Records released Davis' major debut album"
"On the Corner On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman. Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electric organ more prominently than his trumpet. Various takes"
"Miles Mosley Miles Mosley is a vocalist, upright bassist, composer, arranger and producer from Hollywood, California. He was named after Miles Davis. Miles Mosley was trained in classical music and jazz at Colburn School of Music in downtown L.A. Mosley has studied with some of jazz's finest musicians, including John Clayton, Ray Brown and Al McKibbon. He claims he picked the upright bass because it was the only instrument at his school that he did not have to bring home with him. A true force on the upright bass, incorporating effects pedals, his bow, his vocals and a horn section"
"piano became a popular instrument in jazz in the late 1960s, particularly for several sidemen who played with Miles Davis. Herbie Hancock first encountered the instrument in 1968 while booked for a session with Davis. He immediately became an enthusiast, noting that the amplification allowed him to be heard much more easily in groups when compared to the piano. Hancock continued to experiment with the Rhodes over the next few years, including playing it through a wah wah. Another former Davis sideman, Chick Corea started using the Rhodes prominently during the 1970s, as did Weather Report founder Joe Zawinul. From"
"mid-1970s. In the early 1970s, Miles Davis continued exploring directions radically different from the jazz music that made him renowned in the 1950s and 1960s. The music from this in his career found him experimenting with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing lineup of musicians who played electric instruments. The trumpeter attracted younger audiences as his fusion music became more radical and abstract while alienating older listeners, musicians, and critics in the jazz scene who accused him of selling out. After recording his 1972 ""On the Corner"" album, Davis began to focus more on performing"
"music as less sophisticated and more commercial than jazz. Miles Davis's album ""Bitches Brew"" sessions, recorded in August 1969 and released the following year, mostly abandoned the swing beat in favor of a rock and roll backbeat and bass guitar grooves. The album ""mixed free jazz blowing by a large ensemble with electronic keyboards and guitar, plus a dense mix of percussion."" Davis also drew on rock music by playing his trumpet through electronic effects and pedals. Although ""Bitches Brew"" gave him a gold record, the use of electric instruments and rock beats created consternation among some jazz critics, who"
"Mellow Miles Mellow Miles is a compilation album of 12 recordings of the “softer side” of the American jazz trumpet player Miles Davis, first released in 1985, all of which are readily accessible to the non-jazz listener thus making this album an “easy-listening”, introductory sampler of the music of Davis. Two of the tracks, “So What” and “Freddie Freeloader”, are Davis compositions from his classic 1959 album ""Kind of Blue"" and feature John Coltrane on tenor saxophone and Julian Cannonball Adderley on alto saxophone. A third, Davis's ""Pfrancing"" from 1961, features Hank Mobley as tenorman. There are also four jazz"
"aggressive speed, technical precision, and harmonic sophistication. He is known for using non-Western scales and unconventional time signatures. Indian music has had a profound influence on his style, and, it has been written, he is one of the first Westerners to play Indian music to Indian audiences. He was influential in bringing jazz fusion to popularity with Miles Davis, playing with Davis on five of his studio albums, including Davis' first gold-certified ""Bitches Brew"", and one live album, ""Live-Evil"". Speaking of himself, McLaughlin has stated that the guitar is simply ""part of his body,"" and he feels more comfortable when"
"Willis With Steve Kuhn With others Al Foster Al Foster (born January 18, 1944) is an American jazz drummer. Foster played with Miles Davis during the 1970s and was one of the few people to have contact with Davis during his retirement from 1975–1981. Foster also played on Davis's 1981 comeback album ""The Man with the Horn"". He was the only musician to play in Davis's band both before and after his retirement. He has toured extensively with Herbie Hancock, Sonny Rollins, and Joe Henderson. Foster was born in Richmond, Virginia, and grew up in New York. He began playing"
"a series of his releases to bear the subtitle ""Directions in music by Miles Davis"". However, author Paul Tingen points out that while Carter and Hancock played electric instruments at the first recording session, the later session was a bit of a throwback, in which Holland played only acoustic bass and Corea played both acoustic and electric piano. Stanley Crouch, a staunch critic of Davis's use of electric instruments, has described the album as ""the trumpeter's last important jazz record"". Noted linguist and Miles Davis-biographer Jack Chambers later wrote that the band sought to expand beyond their usual minimal structure"
"in a variety of sizes. As of 2015, Dunlop has begun producing Marcus Miller Super Bright bass strings which Miller has switched to. In 2015, Marcus began endorsing Sire Guitars. With Tom Browne With Donald Fagen With Luther Vandross With Grover Washington Jr. (1980–1984) With David Sanborn (1975–2000) With Miles Davis (1980–1990) With Dizzy Gillespie With Dave Grusin With The Jamaica Boys (1986–1990) With Bernard Wright Marcus Miller Marcus Miller (born William Henry Marcus Miller Jr.; June 14, 1959) is an American jazz composer, producer and multi-instrumentalist, best known as a bass guitarist. He has worked with trumpeter Miles Davis,"
"The following year he released his first record, titled ""All of Me"". His performance on ""All of Me"" has been attributed as helping bring back the organ to jazz music during the 1980s. That same year, DeFrancesco joined Miles Davis and his band on a five-week concert tour in Europe. He followed up with playing keyboard on Davis' album Amandla, which reached No. 1 on the Contemporary Jazz Albums chart in 1989. DeFrancesco started playing the trumpet around the same time, inspired by the sound of Davis. DeFrancesco was originally spotted by Davis during a performance on the television show"
"""Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock. Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as music."" William Ruhlmann of AllMusic wrote, ""To examine his career is to examine the history of jazz from the mid-1940s to the early 1990s, since he was in the thick of almost every important innovation and stylistic development in the music during that"
"Agharta (album) Agharta is a 1975 live double album by American jazz trumpeter, composer, and bandleader Miles Davis. By the time he recorded the album, Davis was 48 years old and had alienated many in the jazz community while attracting younger rock audiences with his radical electric fusion music. After experimenting with different line-ups, he established a stable live band in 1973 and toured constantly for the next two years, despite physical pain from worsening health and emotional instability brought on by substance abuse. During a three-week tour of Japan in 1975, the trumpeter performed two concerts at the Festival"
"Kind of Blue Kind of Blue is a studio album by American jazz trumpeter Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records. The album features Davis' ensemble sextet consisting of saxophonists John Coltrane and Julian ""Cannonball"" Adderley, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, with former band pianist Bill Evans appearing on most of the tracks in place of Kelly. In part owing to Evans joining the sextet during 1958, Davis followed up"
"included on ""The Complete Miles Davis at Montreux"" box set). ""Miles & Quincy: Live at Montreux"" charted at number one on the ""Billboard"" Top Jazz Albums. It won Davis his seventh Grammy Award for Best Large Jazz Ensemble Performance. Miles Davis, who had never revisited past music from his career before, surprised jazz fans when he worked with an ensemble led by Quincy Jones at the Montreux Jazz Festival on July 8, 1991. Jones developed the idea of using two orchestras and conducted both the Gil Evans Orchestra and George Gruntz Concert Jazz Band at the concert. The performance also"
"Al Foster Al Foster (born January 18, 1944) is an American jazz drummer. Foster played with Miles Davis during the 1970s and was one of the few people to have contact with Davis during his retirement from 1975–1981. Foster also played on Davis's 1981 comeback album ""The Man with the Horn"". He was the only musician to play in Davis's band both before and after his retirement. He has toured extensively with Herbie Hancock, Sonny Rollins, and Joe Henderson. Foster was born in Richmond, Virginia, and grew up in New York. He began playing drums at the age of 13"
"""closest approximation"" to the music they could have recorded together. Davis veered from succinct and expressive solos to unsentimental wails, which suggested he was still mourning Hendrix's 1970 death, Murray surmised. That year, Davis had started playing with a wah-wah pedal affixed to his trumpet in order to emulate the register Hendrix achieved on his guitar. The pedal created what ""The Penguin Guide to Jazz"" (2006) described as ""surges and ebbs in a harmonically static line, allowing Miles to build huge melismatic variations on a single note"". By the time of the concert, he had developed what Philip Freeman called"
"and later an Ibanez MIDI controller, a Roland guitar synth, and a Yamaha TX81Z. Pete Cosey Peter Palus Cosey (October 9, 1943 – May 30, 2012) was an American guitarist who played with Miles Davis' band between 1973 and 1975. His fiercely flanged and distorted guitar invited comparisons to Jimi Hendrix. Cosey kept a low profile for much of his career and released no solo recorded works. He appeared on Davis's albums ""Get Up with It"" (1974), ""Agharta"" (1975), ""Pangaea"" (1976), ""Dark Magus"" (1977), and ""The Complete On the Corner Sessions"" (2007). Cosey was born in Chicago, Illinois. He was"
"musicians known for interpreting jazz scores. Nevertheless, Davis enlisted members of his sextet, including Cannonball Adderley and Paul Chambers. The second in a series of Davis/Evans collaborations, ""Porgy and Bess"" was well received upon its release by music critics and publications, including ""The New York Times"" and ""Los Angeles Times"". Music writer Bill Kirchner wrote ""In this century's American music, three partnerships have been most influential: Duke Ellington/Billy Strayhorn, Frank Sinatra/Nelson Riddle, and Miles Davis/Gil Evans."" As one of Davis' best-selling albums, ""Porgy and Bess"" has earned recognition as a landmark album in orchestral jazz. Davis biographer Jack Chambers described"
"people and concepts they represent, but it as readily refers to the range of Davis’ arco technique. Davis and the bow are very much in evidence here, matched with the great John Hicks and the piano"". On All About Jazz, Craig Jolley said ""As the primary soloist Davis plays arco (bowed) bass on most tunes. In contrast to the generally high-energy feel of his previous records he concentrates mainly on melodic variation. The deep, rich sonority of his instrument becomes a primary message. This CD can also be seen as Davis' personal summary of twentieth century American music with emphasis"
"Bill Barber (musician) John William Barber (May 21, 1920 – June 18, 2007), known as Bill Barber or Billy Barber, is considered by many to be the first person to play tuba in modern jazz. He is best known for his work with Miles Davis on albums such as ""Birth of the Cool"", ""Sketches of Spain"" and ""Miles Ahead"". Barber was born John William Barber in Hornell, New York, near Rochester, in 1920. He started playing tuba in high school and studied at the Juilliard School of Music. After graduating, he travelled west to Kansas City, Missouri, where he played"
"music for his ability to fuse both styles together. He was born in Portland, Oregon and raised in Corvallis, although he also spent two years of his childhood in Italy. His earliest musical influence was his mother, a classically trained pianist and part-time piano teacher. He started playing the trumpet at nine-years-old, and committed to the instrument at age 12 when he heard Miles Davis play ""My Funny Valentine"". In 1981, he was selected as a member of McDonald's All American High School Jazz band which marked his first Carnegie Hall performance. At the age of 17, he ended up"
"Marcus Miller Marcus Miller (born William Henry Marcus Miller Jr.; June 14, 1959) is an American jazz composer, producer and multi-instrumentalist, best known as a bass guitarist. He has worked with trumpeter Miles Davis, pianist Herbie Hancock, singer Luther Vandross, and saxophonist David Sanborn, among others. Miller was born in Brooklyn, New York City, in 1959 and raised in a musical family that includes his father, William Miller (a church organist and choir director) and jazz pianist Wynton Kelly. He is classically trained as a clarinetist and also plays keyboards, saxophone and guitar. He began to work regularly in New"
"feel that big business and his record company have had a corrupting influence on his material. The rock and pop thing certainly draws a wider audience."" Miles Davis is considered one of the most innovative, influential, and respected figures in the history of music. ""The Guardian"" described him as ""a pioneer of 20th-century music, leading many of the key developments in the world of jazz."" He has been called ""one of the great innovators in jazz"", and had the titles Prince of Darkness and the Picasso of Jazz bestowed upon him. ""The Rolling Stone Encyclopedia of Rock & Roll"" said,"
"24-carat gold CD collectors version. The album was also released on many other formats, many of which are only to be found second hand. Per the liner notes. ""Billboard"" (North America) Kind of Blue Kind of Blue is a studio album by American jazz trumpeter Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records. The album features Davis' ensemble sextet consisting of saxophonists John Coltrane and Julian ""Cannonball"" Adderley, pianist Wynton Kelly, bassist Paul Chambers, and drummer"
"to his care, spending every day seeing to his special needs. Pamela died on March 20, 2017. Davis died of a heart attack at the Rush Foundation Hospital in Meridian, Mississippi on April 22, 2008, a day after his 60th birthday. 1970-1971: Fender Rhodes electric piano, Yamaha grand piano, RMI Electra, Farfisa Organ, Hammond B-3 organ, Moog synthesizer, EMS Synth 1972-1974: Minimoog, ARP 2500, ARP 2600, ARP Odyssey Mark 1, Moog Opus 6, Hammond B-3 organ, Fender Rhodes, Yamaha grand piano, EMS VCS3 Synthi 1975-1976: Minimoog, ARP 2500, ARP 2600, ARP Odyssey Mark 1, Korg MiniPops drum machine, Polymoog, Fender"
"With Miles Davis With Dizzy Gillespie With Quincy Jones With Hank Mobley With Oscar Peterson With Don Sebesky With Stanley Turrentine Milt Jackson Milton ""Bags"" Jackson (January 1, 1923 – October 9, 1999) was an American jazz vibraphonist, usually thought of as a bebop player, although he performed in several jazz idioms. He is especially remembered for his cool swinging solos as a member of the Modern Jazz Quartet and his penchant for collaborating with several hard bop and post-bop players. A very expressive player, Jackson differentiated himself from other vibraphonists in his attention to variations on harmonics and rhythm."
"The Man with the Horn The Man with the Horn is an album released by Miles Davis in 1981, featuring drummer Al Foster, saxophonist Bill Evans, guitarists Mike Stern and Barry Finnerty, and others. It was Davis's first new release since 1975, following a six-year reclusive retirement. Rock-oriented in nature, the music fuses 1980s pop with improvisational funk and fusion styles. The album marked Davis's return to his more traditional trumpet playing, although the title song ""The Man with the Horn"" features wah-wah improvisation along with vocals. All tracks composed by Miles Davis; except where indicated on ""Shout"" and ""The"